Yep, Niall Keegan. A taste here: https://www.youtube.com/watch?v=VMqfw3tD2Zk
On his CD, and the track on Wooden Flute Obsession, (3:29 Reels) Dunmore Lasses/My Love is in America takes you on a wild ride.
This question has been asked many times before
and I usually recoil from the lameness of the examples
put forth as “jazz” or (please don’t let me wretch) “jazzy”.
Traditional Irish, Scottish or what have you players noodling
around bending their notes, playing pentatonic, pentatonic minor
and whole note scales is not jazz. It might be masterfully conceived
and virtuosically played but it ain’t jazz,
This is the only recording that I’ve ever heard that meets any part of
the description. Not because of the melody players who are fabulous,
but the rhythm section who are in fact dyed in the wool jazz players.
So here it is. Traditional Irish music (mostly) with jazz accompaniment
played by real jazz players.
p.s.
Regina Carter who plays violin on some
of these cuts isn’t really a jazz player either.
She’s a classically trained violinist that plays
the above mentioned scales and calls it jazz.
Don’t forget Cormac Breatnach. His groups Meristem and Deiseal were very “jazzy.” The problem with fusion of Jazz and Irish Trad is the absence of what us Jazzbos call the “blue notes.” Chromatic instruments are pretty much essential to jazz. The basic chord progressions in jazz (blues, rhythm changes, etc.) all require maj and min 7th chords/scales played in progressions. The modal character of Irish trad and the chromatic nature of jazz are kind of like oil and water. I love both genres, play both genres, but keep them separate. Just my opinion.
There’s plenty of blue notes in Irish music particularly in piping.
But the chromatic approach is lacking and that’s part of its charm
for me. The modal part is where they meet. But as you say, keep em separate.
Agree with you oleorezinator, perhaps I have to refine better my request.
There are many musicians or groups who use very interesting chords in their music, a lot of major seventh, ninth and chords substitutions. I’m interested in this music. Some example are in tunes by Flook, Mike McGoldrick and Cormac Breatnach (as suggested above).
This is not jazz, it’s true, but usually there is a sort of “swing” in this music and I don’t know how to name this kind of music…
I liked a lot the your links to the Celtic Jazz Collective, thank you.
Keep forgetting to mention these guys on threads like this; did so on the session the other day. Anyway Ensemble Eriu is one of my favorite trad bands of recent years; only so much flute content (the bass player plays some flute and whistle) but definitely jazzy (like full on clarinet solos and everything!)
Jazz is a pretty big tent. There’s a lot of trad jazz that doesn’t fit your model, and bands like Weather Report and Mahavishnu Orchestra that don’t fit my father’s model. They’re all dyed-in-the-wool jazz players. I like them all, even if they can’t be pigeonholed.
Jazz is a pretty big tent. There’s a lot of trad jazz that doesn’t fit your model, and bands like Weather Report and Mahavishnu Orchestra that don’t fit my father’s model. They’re all dyed-in-the-wool jazz players. I like them all, even if they can’t be pigeonholed.
Jazz is a huge tent and I like lots of different wrinkles in that fabric.
My problem is with people who noodle and call it jazz when previously
they’ve played nothing but basic diatonic music. Like when classically
trained players start to improvise. Nu age Muzak and celtoid noodling
have a lot in common.